For all of his existing accomplishments as the reigning king of reggaeton—the Latin Grammys, the duets with Beyoncé, Cardi B and other English-speaking heavyweights, the billions of streams—new album Jose might become the first entry by Colombian artist J Balvin into middle America. Rather than being solely an urbano or Latino star, José Álvaro Osorio Balvín is now poised to become a worldwide star without any qualifiers. And he takes full advantage of this mass introduction with a 24-track, 80-minute offering.

In that span, J Balvin showcases a smorgasbord of sounds and styles he’s been exploring for almost a decade—not only reggaeton (the Puerto-Rican-birthed music that itself blended dancehall with hip-hop and Afro-Caribbean styles) but also American hip-hop, EDM and pop. While Jose doesn’t really push his sound forward—as J Balvin has time and time again—that doesn’t seem to have been the goal this time around. Instead we get a sampler of sorts, with some of his most autobiographical songs, a variety of riddims and a plethora of guest stars both familiar and new to United States listeners.

Over the years, Balvin has created his own style of smooth and free-flowing reggaeton, and the 36-year-old largely stays in his happy place here. The forward momentum on Jose is the most personal lyricism of J Balvin’s career thus far, focusing both on his own life and that of his family. Reggaeton as a genre largely grew out of boasting about rough living on the streets of Puerto Rico. While much of the violent themes have been squeezed out of the pop-facing forms of the genre, there’s still masochism and misogyny. That makes these personal songs stand out that much more.

Take “Querido Rio” (Dear Rio), the 18th track. Over a soft and distorted synth and what sounds like brushed percussion and an acoustic guitar, Balvin sings directly to his young son about being for him and promising to be not just a dad and a friend. The lyrics aren’t necessarily complex, but they’re about as complex as a non-native speaker can understand in order to follow along.

At about three and a half minutes, “7 De Mayo” reads likes a cross between an autobiography and requiem. Reminiscent of the classic hip-hop ascension story and named for his birthday, the song covers J Balvin’s rise from a callused-handed kid in a Medellín barrio to getting recognized for his contributions to music by his forefather in reggaeton, Daddy Yankee. He also throws in samples of his mother speaking.

For those who love reggaeton’s slinky grooves, they’re in large supply on Jose. Appearing on the album are none other than diva Dua Lipa, as well as Balvin contemporary Bad Bunny and Puerto Rican artist Tainy. They appear on album closer “Un Dia (One Day),” the sort of sleek, The-Weeknd-like jam that Balvin has perfected over the year.

“One day you’ll realize I’m more than your lover/ I’m more than your lover, I’m your friend,” Dua Lipa sings (in English) over a shuffling beat. “One night without you/ It’s not that easy, baby/ I am for you/ And you are for me,” Balvin counters. Unattainable longing is also the subject of the similarly named “Otra Noche Sin Ti,” another woozy ballad with a shuffling riddim—this time a song featuring Khalid.

“I wake up, and the first thing I do is see if you wrote me,” Balvin sings. “Last night I left you a message, but you didn’t read it.” Khalid is mostly moody filler here, his voice just barely rising above the melody.

The back half of the album contains much of the personal moodier material, while the first half gets the bounciest bangers, starting with the tempo-changing, boastful “F40.” Remixes of most of the songs will find their way to clubs soon enough, but the Skrillex-featuring “In Da Getto” came prepackaged for them. “Perra,” featuring Dominican rapper Tokischa, is a canine love story of sorts with a solid dembow beat. But if you loved “Lady and the Tramp,” you won’t want to get these words translated. The menacing “Billetes de 100” offers up a trap flow, guest vocals by Puerto Rican artist Myke Towers and is one of the few songs on Jose that lean overtly into rap.

For long-time J Balvin fans looking for new ideas from the raggaeton star, there’s not much revolutionary on the album, but there are lots nuggets here that are worth a listen and inclusion on your next party mixes.

Follow editor Roman Gokhman at Twitter.com/RomiTheWriter.